98.7 The Bull Portland continues to revamp its lineup with the addition of the “Greg Beharrell Show.” It is the first Country affiliate for the 95.5 KLOS Los Angeles-based show.
The show was previously on sister AAA 101.9 KINK in the evenings.
Beharrell said, “I can’t tell you how happy I am to have a second type of ranch in my life.”
Alpha EVP/Programming Phil Becker said, “It’s not something I like to admit publicly, but I am a fan of Greg’s show, and his approach to Country is helping to keep Portland Weird. I truly can envision a day where Greg has dreams beyond his wealth.”
The station has undergone several recent changes, which began with the departure of Danny Dwyer and Jake Bryon last month. (BMM 7/16)
Following that, the station added Jamie Tanchyk for middays (BMM 7/22) and a live version of B-Dub Radio to afternoons. (BMM 7/22).
The Bobby Bones Show remains in morning drive.
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Decker currently serves as the White House correspondent for both iHeartMedia and Gray Television. He has worked covered presidential administrations for more than 30 years, going back to when Bill Clinton occupied the office.
“Broadcasting straight from the White House Press Briefing Room, Jon brings you a daily 15-minute briefing on the most important developments from the Trump administration,” a description for the show reads.
Earlier this year, Decker told Barrett Media that his relationship with Donald Trump has been pivotal in helping expanding coverage and access inside 1600 Pennsylvania Avenue.
“For me, the relationship goes back literally decades, and that’s helpful. He trusts me, he respects me, and similarly, I respect him and the office of the presidency, and that’s why I think that he does answer my questions on a regular basis,” said Decker. “Asking questions of the President does require, I think, some experience in the way to phrase a question to the President. You can get the same information that you desire by asking a question in a respectful way, rather than trying to, essentially, trip up the President or trying to get a rise out of the President.
“That’s not necessary. It’s unnecessary, I think, not only in the short term, but also in the long term, in terms of establishing a relationship with the President,” continued Decker. “What I’ve always thought in asking my questions … is what is a way for me to get a substantive answer from the president, but in a way that is respectful and in a way that continues that relationship that I’ve developed with him over the years.”
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The Athletic has secured a multi-year licensing agreement with Pablo Torre’s podcast,Pablo Torre Finds Out, marking a significant step in the outlet’s push to expand its presence in the audio space and deepen its cultural footprint within sports storytelling.
According to Bloomberg, the deal is worth a reported seven figures and is one of two new licensing partnerships designed to add a more conversational, pop culture-infused layer to The Athletic’s sports coverage. Torre, a former ESPN personality and respected sports journalist, brings with him a rapidly growing audience and a podcast that blends longform storytelling, investigative journalism, and thoughtful discussion across the sports and entertainment landscape.
The podcast, produced through Meadowlark Media, has quickly become a destination for sports fans interested in more than just box scores and breaking news. Torre’s approach emphasizes narrative depth, nuanced interviews, and offbeat perspectives—qualities that align well with The Athletic’s growing ambition to be more than a platform for traditional sports news.
The move comes as The New York Times, which owns The Athletic, continues to explore new ways to generate revenue from its $550 million acquisition of the sports journalism outlet in 2022. Though The Athletic has built a strong subscriber base, profitability remains a long-term goal, and podcasting is increasingly viewed as a core pillar of its growth strategy.
While details on the second podcast licensing agreement were not made public, the Times appears committed to investing in audio as both a storytelling platform and a monetization opportunity. In recent months, it has quietly ramped up its audio content development, signaling a broader shift toward multimedia journalism.
For Torre, this deal represents a new chapter in an already versatile career. He rose to prominence through his work at Sports Illustrated and ESPN, before branching out into independent media with Meadowlark, the content company co-founded by Dan Le Batard. His podcast, launched in 2023, has featured deep dives into topics like sports gambling, athlete psychology, and the evolving nature of fandom.
— Dan Le Batard Show with Stugotz (@LeBatardShow) August 5, 2025
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WBBM Newsradio has named Geoff Buchholz as the outlet’s new Political Editor, stepping into the role vacated by the retirement of Craig Dellimore, who spent more than 40 years at the station.
Buchholz joined WBBM Newsradio in 2012, and has been a pivotal player in the station’s election night coverage. Before joining WBBM, he spent 12 years at FOX 32 in Chicago, including time as the executive producer and senior manager.
“Chicago and Illinois are entering a critical era, and it’s more important than ever that our audience understands how the actions at City Hall, in Springfield and Washington affect their lives,” said Buccholz. “I’m so grateful for our listeners’ trust, and I’m looking forward to being our station’s politics-to-English translator and excited to get to work.”
“Chicago’s City Hall has all the twists, power plays and tension of a great detective story,” added WBBM Brand Manager Craig Schwalb. “It takes someone who is an exceptional journalist with seasoned and sharp instincts like Geoff to follow the plot. I’m excited to see how he continues to build on the legacy that Craig Dellimore left behind and how his presence strengthens our multi-platform political coverage to better serve our Chicago area listeners.”
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“The Dana Cortez Show” is returning to Phoenix on Rhythmic Power 98.3 for middays. The show was previously on the station from 2019 to 2024.
“We’re so excited to be back on in Phoenix working with Michael, J Steele and the whole Power team!” said Dana Cortez. “We can’t wait to reconnect with our listeners in the Valley and entertain them with interviews, real conversations and of course, their favorite, Down in the DM (if you know, you know!).”
Photo Courtesy Dana Cortez Show
“Dana, Automatic and Anthony A. are family to Power, and it’s time they come back home,” said Jonathan “J” Steele, Program Director of Power 98.3. “So many of our listeners miss the show, and the chemistry between the three of them is undeniable. Now listeners all over the Valley have something to keep them company while at work!”
“Bringing ‘The Dana CortezShow’ back to Phoenix is a strong reflection of the commitment to serve the community with content that is both authentic and engaging,” said Andrew Kalb, SVP, Business Development and Communication of Skyview Networks. “Dana, Auto and Anthony A. deeply resonate with the Phoenix audience, and their impact will undoubtedly be felt across the market.”
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Fox Corp. has announced the launch of FOX One, a new direct-to-consumer streaming platform set to debut on August 21.
During the company’s quarterly earnings call, CEO Lachlan Murdoch revealed the launch of the platform. Additionally, he shared that the service will be priced at $19.99 per month or $199.99 annually.
The new service aims to unify FOX’s expansive content offerings in one destination for viewers.
FOX One will include live and on-demand access to content from across the company’s full portfolio of brands. This includes FOX News Channel, FOX Business, FOX Weather, FOX Sports, FS1, FS2, FOX Deportes, B1G, FOX local stations, and the FOX broadcast network.
In addition, existing streaming services FOX Nation and B1G+ will also be integrated into the platform.
Subscribers will have the option to bundle FOX One with FOX Nation for $24.99 per month or at a reduced rate of $19.99 per month with the purchase of an annual plan. According to the company, the service is designed to meet the needs of cord-cutters and cord-nevers by offering a centralized, live-streaming, and on-demand platform that spans news, sports, and entertainment.
Pete Distad, CEO of Direct to Consumer at Fox Corporation, said the launch represents an opportunity to provide audiences with a “great value proposition and user experience” by bringing together the company’s content under one umbrella.
The streaming platform will also include personalized user experiences, utilizing AI-driven technologies to integrate live programming and video-on-demand within a unified interface. It is expected to deliver a seamless experience that aligns with modern consumer viewing habits and preferences.
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Bonneville International has announced a new brand for 770 KTTH, as the station will now be known as Seattle Red 770 AM.
The brand uses a similar style to Bonneville’s sports stations, which all use the city’s name, followed by the word “Sports” and the dial position, including sister-station Seattle Sports 710.
In a statement, the company says the new on-air branding marries the radio brand with the emerging digital platforms utilized by the company.
“Seattle Red brings together bold voices, exclusive investigations, and a growing digital presence through its newly launched website, SeattleRed.com, and the Seattle Red mobile app,” Bonneville said in a release.
“It’s designed to amplify conservative perspectives with hard-hitting news and unapologetic commentary led by local powerhouse Jason Rantz, who anchors the lineup from 3–7 p.m. every weekday. And it will expand its coverage to the entire Pacific Northwest, providing news and analysis from neighboring Idaho and Oregon states.”
No changes have been made to the station’s on-air lineup. Afternoon host Jason Rantz remains the only local programming on the station. Nationally syndicated shows from Jack Armstrong/Joe Getty, Dana Loesch, Guy Benson, Will Cain, and Mark Levin make up the remainder of the daily programming at the station.
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FOX Corp. has announced its quarterly earnings and the report is a positive one for the brand overall.
In total, the company secured $3.29 billion in total revenue during 2025’s second quarter. That figure well surpassed analysts’ forecasts of $3.11 billion for the quarter. Also, the company’s earnings per share of $1.57 outpaced the $1.01 projected heading into the three-month sector.
Advertising revenue grew by 7% at FOX Corp. during the quarter. Just over $1 billion in advertising was secured by the company, which pointed to its streaming service Tubi, high ratings on Fox News, and a better pricing model as reasons for the uptick.
The Cable Network Programming division also outpaced expected results, with revenue growing to $1.53 billion. That figure represents a 7% year-over-year increase. Advertising grew 15% in that category, while carriage fees growing 2%, enough to offset the losses of a declining subscriber base.
The television division at FOX saw a 6% revenue increase compared to the same timeframe in 2024. $1.71 billion was secured during the quarter, with the company pointing to the free-to-use Tubi streaming platform as a major driver of that growth.
“We remain confident that our focused strategy, leadership position in key verticals and strong balance sheet will continue to deliver value to all shareholders,” CEO Lachlan Murdoch said.
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Some time last year, I wrote a column suggesting that perhaps it was time to loosen the FCC laws on the use of profanity in broadcasting, especially when those on YouTube can say whatever they’d like.
It wasn’t that I particularly wanted to hear more F-bombs and the like, but maybe that war has been lost.
Last week, a short piece by Jay Peters in The Verge entitled “YouTube tells creators they can drop more F-bombs” caught my eye. Under my personal heading of “I Really Don’t Know Much About How YouTube Works, But I Know Everyone Uses It,” apparently, YouTube had a rule that if you used a “strong profanity” such as “f—” in the first seven seconds of a video, you would not receive full monetization. Instead, the creator would receive “limited ad revenue.”
This changes an earlier policy that limited ad revenue if profanity was used in the first 8–15 seconds of a video. The policy was previously changed in March 2023, allowing profanity as of eight seconds into the video.
The reasoning was simple: some advertisers might not want their spots to bump up against a stream of four-letter (or longer) curse words. The latest change was based on advertisers having the ability to target content to their desired level of profanity.
Apparently, some advertisers don’t mind having ads bump up against a stream of “strong” profanity compared to YouTube-defined “moderate profanity” such as “a–hole” or “b—-.”
In case you think YouTube has thrown in the motherf—ing towel completely on profanity, you may not receive full monetization if you put profanity in titles or thumbnails. Also, using too much profanity could harm your revenue. As Conor Kavanagh, YouTube’s head of monetization policy experience (a marvelous title), was quoted in the article, “You have to pick and choose your f—s carefully.”
Meanwhile, broadcasters still operate with FCC rules. Here’s the latest from the FCC’s website:
Deciding what’s obscene, indecent or profane
Each type of content has a distinct definition:
Obscene content does not have protection by the First Amendment. For content to be ruled obscene, it must meet a three-pronged test established by the Supreme Court: It must appeal to an average person’s prurient interest; depict or describe sexual conduct in a “patently offensive” way; and, taken as a whole, lack serious literary, artistic, political or scientific value.
Indecent content portrays sexual or excretory organs or activities in a way that is patently offensive but does not meet the three-prong test for obscenity.
Profane content includes “grossly offensive” language that is considered a public nuisance.
F-bombs fall under the “profane content” category. And yes, there is a “safe harbor” between 10 PM and 6 AM local time in which some indecent content (not profane) may be aired under the belief that children will not be listening or watching, consistent with the definition of “indecent” above. Another FCC document from 2022 refers to 18 U.S.C. Section 1464, which states:
“[W]hoever utters any obscene, indecent, or profane language by means of radio communication shall be fined under this title or imprisoned not more than two years, or both.”
Same goes for cable under 18 U.S.C. Section 1468(a) and 47 U.S.C. Section 559. While I’ve never heard of it happening, channeling your inner George Carlin on the air could put you in the slammer.
Meanwhile, a YouTube “creator” (I’m using quotes because profanity has been with us for millennia, so dropping F-bombs is not exactly creative) can say whatever and be paid.
Two thoughts here:
First, the world has changed, and if kids can access YouTube on their phones with ease — not to mention porn sites, although that access is being tightened — why are we worried about broadcast? If the laws changed tomorrow, how many radio programmers would go for it? Would someone syndicate an unleashed Howard Stern? And think about news and sports talk hosts who no doubt hold back some of their language. There will always be a market for “clean” entertainment, but a “no-holds-barred” sports talk show on broadcast radio would probably have a following.
Next, the federal law above uses the words “by means of radio communication.” Last I knew, your cell phone operates using “radio communication.” And radio is used by ISPs as well. No, it’s not AM, FM, or DARS band, but it’s radio—although the title of Section 1464 is “Broadcasting obscene language.” The Code of Federal Regulations Title 47 Chapter 1 Subchapter D Part 97 defines “broadcasting” as “Transmissions intended for reception by the general public, either direct or relayed.”
Therefore, if someone wanted to file suit against YouTube or a creator under 18 U.S.C. Section 1464, would they have an argument? The content is “intended for reception by the general public,” even if it’s not exactly aimed at the “general public.” The lawyers and policy experts can think about that one, but wouldn’t the court case be an interesting one if a federal court accepted it?
I’m not a prude and have used more than my fair share of four-letter words, as well as some multi-syllable versions, but I dislike double standards. Radio, television, and cable operate under one set of rules, while online services operate under their own, far more lax, self-imposed rules.
While I don’t see the NAB Board instructing the organization to push for smut on broadcast any time soon—nor do I think Congress will ever rescind the laws noted here—it’s an interesting thought. In the meantime, if your talent is producing content for YouTube, dropping an F-bomb in the first second or two won’t hurt your revenue.
The WWE is an entertainment company. It’s the world’s largest entertainment brand in its own industry. Professional wrestling has never been bigger or more profitable than today because of the business model, reach, and impact that the WWE has built over the last half-century.
This weekend, the WWE put on its first-ever two-night SummerSlam event: twelve total matches over two nights in a near-sold-out MetLife Stadium. Between the body slams and theatrics, the result was a massive win for the WWE. Big business matched with headlines that captured the sports world. Jason Barrett said it best in his column on Monday—professional wrestling is now a part of mainstream sports media.
Through all the memories made this weekend, one stuck out over them all: the return of Brock Lesnar, and the end of WWE holding post-event media scrums. In the age of Unreal, where kayfabe is real life, why are so many irate over a scripted and planned-out press conference?
For those not in the loop, let me set the scene.
Why Is It Important To Know Brock Lesnar’s History
Brock Lesnar is a WWE superstar and a former UFC Heavyweight Champion. He’s been on (and off) the WWE roster since his debut in 2002. Lesnar has not appeared on WWE programming since 2023, when he lost to Cody Rhodes at SummerSlam that year. The reason why wasn’t necessarily in the storyline.
In January 2024, a former WWE employee named Janel Grant sued WWE Chairman Vince McMahon, alleging the wrestling company’s founder took part in sex trafficking and put her through sexual acts that were done with “extreme cruelty and degradation.”
Lesnar is mentioned in the lawsuit as someone McMahon offered sexual encounters to with Grant. Hence why Brock has been missing in action, and McMahon is no longer part of the WWE.
With that background and Grant’s lawsuit still in the court system, it was odd to see Lesnar’s appearance at this weekend’s SummerSlam. The Grant case wasn’t resolved, and Brock’s name had not been reportedly cleared of any wrongdoing.
What’s even more odd is the WWE decided not to hold a post-event press conference that they have done following every premium live event for at least the last two years.
Was this just a matter of timing? Was this planned all along?
This left many on social media puzzled, confused, and very upset. Why would the WWE decide to change course now—especially with a return of this magnitude to the public eye?
Monday, a spokesperson for Janel Grant said this was the WWE attempting to sweep Lesnar’s alleged conduct “under the rug.”
As a frequent viewer of the WWE product, did I find the timing of this decision to be questionable? Yes, I did.
Press Conference or Scene Setter?
However, the post-show press conferences were not designed for hard-hitting questions from real journalists. They were filled with headlines celebrating the success of the event: record attendance, record gate, record social media interactions, etc.
Paul “Triple H” Levesque’s job is to celebrate the highlights as the content creator that he is. His job is to pivot into storyline without revealing the secret sauce—to provide a ruse while noting the accomplishments of his staff and roster of superstars.
There was one time when Levesque was asked about the allegations in the Grant lawsuit, and he declined to answer, instead choosing to focus on the event and its positives.
Why would last night have been any different?
The WWE is not one to shy away from controversy. They create it for effect.
The WWE is also not shy about speaking with media. They are extremely active, with wrestlers being provided for traditional and non-traditional sports and media outlets all the time. You can’t go a day without seeing something WWE-related on your social media feed or YouTube.
As an entertainment company, you get to choose how you entertain your audience. If the press conferences didn’t provide any additional entertainment from the media who attended, why keep it?
I watched many of those press conferences. There wasn’t much besides attempts to dive into the reasoning of the storyline and favorite foods from the cities that hosted the premium live events.
Are You Not Entertained?
The WWE had to clear Lesnar’s return from Levesque to those higher on the payroll than him. The WWE doesn’t execute anything without proper vetting and preparation. They don’t work day-to-day, as WWE: Unreal has exposed. The WWE works months in advance.
To think the WWE didn’t expect the controversy over ending the press conferences is laughable.
Will Brock Lesnar’s return hurt the business of the WWE? The company is already selling shirts that say “The Beast is Back.”
There has already been outrage over the decision to not share the reason for Lesnar’s return, but at its core, the WWE is an entertainment company. Brock Lesnar is an entertainer who works for the WWE. Brock Lesnar takes orders on the creative story that he’s involved in.
The WWE doesn’t have to tell you why. They just hope you enjoy the story, because it now has your attention. If Seth Rollins faking a knee injury for a month wasn’t evidence enough that sports media can be played like a fiddle, maybe Brock Lesnar’s return to the WWE is just the next fool’s gold for sports media to label Unreal.
It all could just be part of the script.
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